Here

Love Lost

“A Child’s War” The original 2003 composition by Dean R. Chandler is a haunting cinematic ballad that captures the horror, heartbreak, and humanity found within the chaos of conflict. Originally composed as part of Human Odyssey, it tells the story of a man torn between survival and despair — a father haunted by the cries of his son and the memory of his wife as war consumes everything around him.

Through powerful orchestration, emotional vocals, and vivid storytelling, the song explores the innocence lost in war, the spiritual battle between faith and fear, and the desperate plea for peace in a world gone mad.

This 2025 AI reimagining takes the track in a new direction — it would’ve fit perfectly in my Cold Jack set from ’94/’95, or as a dark, cinematic James Bond–style theme.

This is not just a song — it’s a cinematic journey through the eyes of those who never chose to fight, but must. A tribute to the fallen, the forgotten, and the survivors who still carry the sound of their children’s cries.

A CHILD'S WAR 

[Verse 1]
I cry, without explanation
I hear her voice in my head
I smell the perfume that she wears
My son cries in his bed
Death will surround me
Sacrificed blood spills around me

[Chorus]
I've never had a reason to fight for my life
I've never had a reason 'til now
Guns sound around me as I fall to the ground
I pray for an end to this, I don't want to die
Because my son cries at night
And I have tears from my wife
Oh, I must survive

[Verse 2]
I've seen, a man with no reason
Take the, life of a child
So young, so lost and discouraged
No home or hand to hold tight
Abandoned and lonely
I'm finding this action unholy

[Chorus]
I've never had a reason to fight for my life
I've never had a reason 'til now
Guns sound around me as I fall to the ground
I pray for an end to this, I don't want to die
Because my son cries at night
And I have tears from my wife
Oh, I must survive

[Verse 3]
This is a child's war
No man can win
No explanation hides this sin
Save me
Save my child's heart

[Chorus]
I've never had a reason to fight for my life
I've never had a reason 'til now
Gun sound around me as I fall to the ground
I pray for an end to this, I don't want to die
Because my son cries at night
And I have tears from my wife
Oh, I must survive

[Instrumental]

[Verse 4]
Give, me a reason
And send me your heart
Send all of your angels
To end this holy war

{Verse 5]
Fall from the red sky
And wipe all the tears
Take all our anger
And banish all fear
Give me a sign
Send us your son
It's time

[Chorus outro]
I've never had a reason to fight for my life
I've never had a reason 'til now
Guns sound around me as I fall to the ground
I pray for an end to this, I don't want to die
Because my son cries at night
And I have tears from my wife
And so I'll fight for my life

Time Machine - Echoes of Shattered Dreams

A Child's War

Hills of Carrick

Writing a song in the realm of fantasy is like stepping into a world painted by Maxfield Parrish, where colors are impossibly vivid and the air shimmers with possibility. Each verse becomes a journey through “Daybreak,” where golden light spills over marble terraces and hope is born anew with the dawn. The melody drifts through the tranquil blue haze of “Ecstasy,” capturing the sense of longing and wonder that Parrish so often evoked. In crafting lyrics, I imagine myself wandering through the lush, dreamlike landscapes of “The Garden of Allah,” where every note is a petal, every chord a breath of wind stirring the leaves. The song becomes a tapestry of these enchanted places, woven together with the same delicate touch that Parrish used to blend light and shadow.

Thematically, the song draws on the sense of timelessness and serenity that permeates Parrish’s work, inviting listeners to escape the mundane and enter a world where imagination reigns. Just as “Stars” depicts a lone figure gazing upward, lost in reverie beneath a sky dusted with constellations, the chorus lifts the listener into realms of wonder and possibility. The fantasy is not just in the setting, but in the feeling—a sense of awe and yearning for beauty that transcends reality. By referencing these iconic paintings, the song becomes a tribute to Parrish’s vision, using music and words to evoke the same magic, transporting the audience to a place where dreams and reality intertwine.

Sleepyland (Maxfield's Dream)

In my late forties, I’d settled into the gentle routines of my life—work, evenings with friends, and the quiet comfort of solitude after a handful of relationships that never quite lasted. I didn’t expect much to change until I met Harold, just past fifty, at a local book club. He was a widower, kind and thoughtful, with a love of poetry that matched my own. Our friendship began over shared verses and coffee, but it didn’t take long for something deeper to blossom between us.

We both carried scars from the past, and there were moments of doubt and hesitation—family concerns, insecurities, and the challenge of blending two well-established lives. Yet, with every setback, our bond only grew stronger. Eventually, we realized that what we had found was rare and precious. With open hearts, we decided to embrace the future together, grateful for the unexpected joy of finding true love later in life.

Buy Dear Love here

Dear Love

About the way society has flattened out, lost it spontaneity for the most part, and Mama Cass and her cohorts have been largely forgotten. When music was still organic, and not manufactured, and people could march to a different drum without fear of persecution, with a certain amount of freedom that we could no longer experience.

Too Human

Growing up, I was absolutely captivated by the gothic world of Dark Shadows on ABC’s afternoon lineup. There was nothing else quite like it—the swirling fog, the creaking doors, and that haunting theme music that set the tone for every episode. The characters were unforgettable, especially Carolyn Collins, with her restless spirit and complicated love life. I vividly remember her relationship with Joe Haskell, the earnest and dependable fisherman who was hopelessly devoted to her, even as his heart eventually wandered to Maggie Evans. The tangled romances, supernatural twists, and brooding atmosphere made Dark Shadows feel like a fever dream that I never wanted to wake up from.

One of my favorite settings in the show was the Blue Whale, the local Collinsport hangout where the townsfolk would gather to unwind and dance away their troubles. In my memory, the music at the Blue Whale was always a little mysterious—moody organ lines, slow-burning grooves, and the occasional burst of rock and roll energy. For my own slightly updated take, I imagined what the Blue Whale might sound like if it existed today: a blend of retro dance rhythms, atmospheric synths, and shadowy guitar riffs that pay homage to the show’s eerie charm. It’s a tribute not just to the characters and stories that kept me glued to the screen, but also to the unforgettable vibe of a place where anything could happen after dark in Collinsport, Maine.

Hooked (Carolyn and Joe At the Blue Whale)

Magic Man

Little Bit of Love

This

Been singing all of my life, writing lyrics since 1983, recording since 1995.

I am sort of transgenre'd.  Straight across the board.  The only good thing good about being a non-performing songwriter is you have the freedom to pretty much write what you want in any genre you want.

I grew up listening to classical, the Beatles and Stones, James Taylor, Carly Simon, and later , the Doobie Brothers.  Nowadays, I just find a playlist on Spotify. I am partial to alternative these days. And electronic if it has vocals.

I've been at this a while, and if you are like me, you'll never get tired of it.

Hooked (Carolyn and Joe At the Blue Whale)

Kel Brown

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